scholarly journals Human-Friendly Design of Virtual System “female Body-dress”

2015 ◽  
Vol 15 (1) ◽  
pp. 19-29 ◽  
Author(s):  
Mengna Guo ◽  
Victor E. Kuzmichev ◽  
Dominique C. Adolphe

Abstract Recently, the development efforts focused on the computer simulation of garments, which depend on the material's physico-mechanical properties. It intends to achieve the best possible and realistic simulations of garments, which are available for pressure prediction. In this manner, 3D garment virtual technology improvements allow the visualization of pressure areas with values where the fabric might be too tight against the body. Although the purposes of simulation graphics were acceptable, the accuracy for apparel shaping is not enough to meet the needs of Virtual Prototyping and CAD utilization especially while the fabric properties system design was inadequate. Moreover, the existing pressure simulation is intended to simply predict the pressure index or how the textile deformation extend, which are deficient in real human's perception. In this research, the 3D shapes belonging to typical female bodies and dresses made of different fabrics were obtained by 3D body scanners (ScanWorX and TELMAT). Through reconstruction for the 3D torso shapes, the volumetric eases between body and dress were calculated by means of a software Rhinoceros. A new approach for the selection of textile properties based on the Kawabata Evaluation System (KES) was proposed to investigate its relations with dress shaping and pressure comfort. Finally, fabric properties tested by the KES-F system were compared with volumetric eases, objective pressure indexes and subjective comfort scores to reveal the relations how the fabric properties have impacts on dress outside shaping and inside pressure comfort of a female body. In this manner, the human-friendly CAD instead of mechanical approach existing before has been presented as a new approach to promote the construction of a realistic system for the 3D simulation optimization.

The paper provides an analysis of the structuralist and phenomenological traditions in interpretation of female body practices. The structuralist intellectual tradition bases its methodology on concepts from social anthropology and philosophy that see the body as ‘ordered’ by social institutions. Structuralist approaches within academic feminism are focused on critical study of the social regulation of female bodies with respect to reproduction and sexualisation (health and beauty practices). The author focuses on the dominant physical ideal of femininity and the means for body pedagogics that have been constructed by patriarchal authority. In contrast to theories of the ordered body, the phenomenological tradition is focused on the “lived” body, embodied experience, and the personal motivation and values attached to body practices. This tradition has been influenced by a variety of schools of thought including philosophical anthropology, phenomenology and action theories in sociology. Within academic feminism, there are at least three phenomenologically oriented strategies of interpretation of female body practices. The first one is centred around women’s individual situation and bodily socialization; the second one studies interrelation between body practices and the sense of the self; and the third one postulates the potential of body practices to destabilize the dominant ideals of femininity and thus provides a theoretical basis for feminist activism. The phenomenological tradition primarily analyses the motivational, symbolic and value-based components of body practices as they interact with women’s corporeality and sense of self. In general, both structuralist and phenomenological traditions complement each other by focusing on different levels of analysis of female embodiment.


Author(s):  
Barbara Zecchi

This chapter discusses the figure of the ageing female character as a sexual being in a wide selection of films directed by Spanish women filmmakers including Cecilia Bartolomé, Isabel Coixet, Pilar Miró, Josefina Molina or Paula Ortíz among others. The author usefully identifies a number of sometimes opposing strategies that serve to organise the films into three distinctive categories. Some films actively spectacularise the body of the mature and sexually active woman, others do the opposite and use the portrayal of the unglamorous older female body as a means to draw attention to and denounce the expectations set by the youth-obsessed mainstream film and media that displace mature women making them invisible. Finally, the chapter identifies a third group of films with ‘affirmative ageing’ discourses. This latter group of films actively encourage the spectator’s sensual engagement with the erotic experiences of the older women on the screen.


Author(s):  
Luisa Lotter ◽  
Vanessa Brébant ◽  
Andreas Eigenberger ◽  
Robin Hartmann ◽  
Karolina Mueller ◽  
...  

Abstract Purpose To assess precise topographic changes of the breast, objective documentation and evaluation of pre- and postoperative results are crucial. New technologies for mapping the body using digital, three-dimensional surface measurements have offered novel ways to numerically assess the female breast. Due to the lack of clear demarcation points of the breast contour, the selection of landmarks on the breast is highly dependent on the examiner, and, therefore, is prone to error when conducting before-after comparisons of the same breast. This study describes an alternative to volumetric measurements, focusing on topographic changes of the female breast, based on three-dimensional scans. Method The study was designed as an interventional prospective study of 10 female volunteers who had planned on having aesthetic breast augmentation with anatomical, textured implants. Three dimensional scans of the breasts were performed intraoperatively, first without and then with breast implants. The topographic change was determined as the mean distance between two three-dimensional layers before and after augmentation. This mean distance is defined as the Topographic Shift. Results The mean implant volume was 283 cc (SD = 68.6 cc, range = 210–395 cc). The mean Topographic Shift was 7.4 mm (SD = 1.9 mm, range = 4.8–10.7 mm). The mean Topographic Shifts per quadrant were: I: 8.0 mm (SD = 3.3 mm); II: 9.2 mm (SD = 3.1 mm); III: 6.9 mm (SD = 3.5 mm); IV: 1.9 mm (SD = 4.3 mm). Conclusion The Topographic Shift, describing the mean distance between two three-dimensional layers (for example before and after a volume changing therapy), is a new approach that can be used for assessing topographic changes of a body area. It was found that anatomical, textured breast implants cause a topographic change, particularly on the upper breast, in quadrant II, the décolleté.


Agronomy ◽  
2021 ◽  
Vol 11 (2) ◽  
pp. 260
Author(s):  
Abdelrazek Elnashar ◽  
Mohamed Abbas ◽  
Hassan Sobhy ◽  
Mohamed Shahba

Efficient land and water management require the accurate selection of suitable crops that are compatible with soil and crop water requirements (CWR) in a given area. In this study, twenty soil profiles are collected to represent the soils of the study area. Physical and chemical properties of soil, in addition to irrigation water quality, provided data are utilized by the Agriculture Land Evaluation System for Arid and semi-arid regions (ALES-Arid) to determine crop suitability. University of Idaho Ref-ET software is used to calculate CWR from weather data while the Surface Energy Balance Algorithms for Land Model (SEBAL) is utilized to estimate CWR from remote sensing data. The obtained results show that seasonal weather-based CWR of the most suitable field crops (S1 and S2 classes) ranges from 804 to 1625 mm for wheat and berssem, respectively, and ranges from 778 to 993 mm in the vegetable crops potato and watermelon, respectively, under surface irrigation. Mean daily satellite-based CWR are predicted based on SEBAL ranges between 4.79 and 3.62 mm in Toshka and Abu Simbel areas respectively. This study provides a new approach for coupling ALES-Arid, Ref-ET and SEBAL models to facilitate the selection of suitable crops and offers an excellent source for predicting CWR in arid environments. The findings of this research will help in managing the future marginal land reclamation projects in arid and semi-arid areas of the world.


Author(s):  
Sarah Benamer

In the context of the body, the essentially female; wombs, menstrual cycles, and concurrent hormones, have seen women ascribed madness, insatiability, untrustworthiness, and danger. Female bodies have been identified in selective parts, considered in abstract, or envisaged as having overwhelming power over the mind. “Hysteria”, the problematic neurosis of uterine origin was at the heart of early psychoanalysis. This diagnosis enshrines a slippage from the physical to the fantastical, and ultimately to the denial of the lived reality of women’s and girl’s bodies. In apparent collusion with patriarchy the neglect of some female bodily experience is perpetuated in contemporary psychoanalytic theory. Nowhere is this more evident than around menopause and hysterectomy (as experienced by either client or therapist). There has been little or no exploration of how practitioners might best support clients for whom menopause is significant, or how we might facilitate women before or after gynaecological surgery. It is as if removal and psychological loss of the same female body parts that our forebears used to so neatly differentiate, diagnose, and pathologise women are now not of note. I am interested as to how we as psychotherapists reclaim female body narratives from this outdated theoretical paradigm to best serve clients experiencing menopause, gynaecological surgery, and mid life in the twenty-first century.


2018 ◽  
Vol 54 (8) ◽  
pp. 1005-1019
Author(s):  
Yoonso Choi

This study examines gender politics from a feminist perspective by analysing significant discourses on body care, which are regenerated through female-targeted Korean weight-loss reality television shows. Three key discourses have implicitly reinforced gender politics within Korean culture. First, weight-loss reality television shows tend to expand the abnormal category of the Korean female body by only focusing on ordinary females, regardless of body size. Second, Korean female body care has been affected by the idea of ‘saving face’, which is regarded as a unique historical national characteristic. Lastly, these diet television shows create a significant discourse called ‘diet pornography’ by emphasizing ‘after’ diet results, such as toned and idealized body shapes, while minimizing the ‘before’ diet, such as the harsh processes and desperate efforts of the ordinary participants. The body-care discourses represented in Korean weight-loss reality television shows play a significant role in defining the gender politics that reinforce the idea that Korean females must modify their bodies as a duty and good habit.


2020 ◽  
Vol 8 (1) ◽  
Author(s):  
Beate Steinfeld ◽  
Andrea S. Hartmann ◽  
Manuel Waldorf ◽  
Silja Vocks

Abstract Background Despite evidence that thinness and muscularity are part of the female body ideal, there is not yet a reliable figure rating scale measuring the body image of women which includes both of these dimensions. To overcome this shortcoming, the Body Image Matrix of Thinness and Muscularity - Female Bodies (BIMTM-FB) was developed. Methods The objective of this study is to analyze the psychometric properties of this measure. N = 607 non-clinical women and N = 32 women with eating disorders answered the BIMTM-FB as well as instruments assessing eating disorder symptoms and body image disturbance in order to test the convergent validity of the BIMTM-FB. To assess test-retest reliability, a two-week interval was determined. Results The results indicated that the body-fat dimension of the BIMTM-FB correlates significantly with the Contour Drawing Rating-Scale, the Drive for Leanness Scale (DLS) and the Body Appreciation Scale, while the muscularity dimension of the BIMTM-FB was significantly associated with the DLS and the Drive for Muscularity Scale, proving the convergent validity of the BIMTM-FB. High coefficients of test-retest reliability were found. Moreover, the BIMTM-FB differentiated between the clinical sample and the non-clinical controls. Conclusions The BIMTM-FB is a figure rating scale assessing both thinness and muscularity as part of the female body ideal. Due to its high reliability and validity, the BIMTM-FB can be recommended in research and practice.


Animation ◽  
2019 ◽  
Vol 14 (1) ◽  
pp. 22-36
Author(s):  
Rebecca Rowe

The debate over whether television and film affect girls’ body image has been contentious. Researchers argue that film and television negatively affect, only partially affect, or do not affect girls’ body image. These studies have one common limitation: they approach animated female bodies as if they are the same because they are, mostly, thin. In this project, the author seeks to extend and complicate this existing scholarship by analyzing bodies in 67 films produced by several American animation studios from 1989 through 2016. In this study, she classifies 239 female characters as one of four body types: Hourglass, Pear, Rectangle, or Inverted Triangle. Her argument is two-fold: (1) over the last 30 years, there has been a shift from a singular dominant shape (Hourglass) to the dominance of several body shapes (especially Pear and Rectangle); and (2) young girls may be affected by characters their own age who have been largely ignored in studies thus far. The author argues that young girls see diverse images of bodies rather than the singular image that scholars study. Girls’ body image may be affected by animation, but animated images are so diverse that this effect may be difficult to determine. A more nuanced understanding of the body shapes animation utilizes may allow researchers to study the more complex messages that girls do or do not internalize.


2014 ◽  
Vol 45 (6) ◽  
pp. 495-497 ◽  
Author(s):  
Nicolas Guéguen

Nelson and Morrison (2005 , study 3) reported that men who feel hungry preferred heavier women. The present study replicates these results by using real photographs of women and examines the mediation effect of hunger scores. Men were solicited while entering or leaving a restaurant and asked to report their hunger on a 10-point scale. Afterwards, they were presented with three photographs of a woman in a bikini: One with a slim body type, one with a slender body type, and one with a slightly chubby body. The participants were asked to indicate their preference. Results showed that the participants entering the restaurant preferred the chubby body type more while satiated men preferred the thinner or slender body types. It was also found that the relation between experimental conditions and the choices of the body type was mediated by men’s hunger scores.


2013 ◽  
Vol 10 (2) ◽  
pp. 358-373
Author(s):  
Louise Wilks

The representation of rape continues to be one of the most highly charged issues in contemporary cinema, and whilst many discussions of this topic focus on Hollywood movies, sexual violation is also a pervasive topic in British cinema. This article examines the portrayal of a female's rape in the British feature My Brother Tom (2001), a powerful and often troubling text in which the sexual violation of the teenage female protagonist functions as a catalyst for the events that comprise the plot, as is often the case in rape narratives. The article provides an overview of some of the key feminist academic discussions and debates that cinematic depictions of rape have prompted, before closely analysing My Brother Tom's rape scene in relation to such discourses. The article argues that the rape scene is neither explicit nor sensationalised, and that by having the camera focus on Jessica's bewildered reactions, it positions the audience with her, and powerfully but discreetly portrays the grave nature of sexual abuse. The article then moves on to examine the portrayal of sexual violation in My Brother Tom as a whole, considering the cultural inscriptions etched on the female body within its account of rape, before concluding with a discussion of the film's depiction of Jessica's ensuing methods of bodily self-inscription as she attempts to disassociate her body from its sexual violation.


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